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Carrie Moyer

Carrie Moyer is a Brooklyn-based painter.

SYLVIA SLEIGH

Sylvia Sleigh’s recent eponymous exhibition at I-20 Gallery featured 12 portraits dating from 1961-79, many of which were being shown for the first time in decades.

Garry Neill Kennedy and Joanna Malinowska

SHIT HAPPENS/“In Search of the Miraculous, Continued…,” the two-person exhibition of Garry Neill Kennedy and Joanna Malinowska, pairs two artists whose work resists the proverbial Easy Read. Both artists make art that responds intellectually and perceptually to the conditions of its site.

Energy/Experimentation: Black Artists and Abstraction 1964–1980

Energy/Experimentation: Black Artists and Abstraction 1964–1980, the current exhibition at the Studio Museum of Harlem, comes at an interesting time.

ALINA SZAPOCZNIKOW My American Dream

When a gallerist tells an artist that her work is “in transition,” it is usually a euphemistic way of saying “Thanks, but no thanks.” This exchange presumes that the solo exhibition is a periodic bracketing that requires a certain level of cohesion and legibility (a body of work) despite the fact that the artist is alive and changing and ditto her work.

Jo Baer

One of the most surprising aspects of Jo Baer’s 1983 refutation of Minimalism, “I am no longer an abstract artist,” is her insistence on the intrinsic relationship between illusionism and art. Often regarded as one of the very few painters allowed into the church of Minimalism, Baer is most well known in this country for a body of elegant, hard-edge paintings produced in the 1960s.

Jack Whitten

Acrylic paint is a relative newcomer to the ever-expanding roster of materials created, loved, and abandoned by painters. Unlike the history of oil paint, which spans over 600 years of discoveries and refinements by countless individual artists and chemists until its eventual standardization and commercialization, the evolution of acrylic paint is short and fairly well-known.

Words are Limited

Words are Limited

Irving Petlin

Enthralled with the buzz of “visual culture,” much contemporary political painting seems to emanate from either the bully pulpit of mass media or the tedious podium of postmodernism.

Dona Nelson

Dona Nelson continues to prove herself as a skilled interrogator of painting. With impatience and glee, she addresses the fundamental questions that have dogged painters over the past century—why, what and how.

Glitter and Doom: German Portraits from the 1920s

A very large preparatory study by Otto Dix for his 1928 triptych, “Metropolis,” hangs in the foyer leading into the exhibition Glitter and Doom: German Portraits from the 1920s at the Metropolitan Museum of Art. Meticulously drawn in red chalk, gouache and pencil, the cartoon’s central panel shows the interior of a swanky, Art Deco nightclub, while its flanking sections depict lurid processions of derelict amputees and flashy streetwalkers.

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The Brooklyn Rail

NOV 2019

All Issues